Moves film festival is a showcase for “movement on screen”, and this is its 5th year. Its mainstay are experimental films, many with a distinct choreographic sensibility. It opened on Thursday, and already there has been much food for thought, from interactive digital storytelling to children's short films.

This year's theme is 'narrative', which, while not a departure, is still a new focus for the festival. It is already noticeable (on day 3) that the selection is much more verbal, word-heavy than previous years.

I arrived on Friday, and for me the day's highlight was a screening of Comma Press films at the Instituto Cervantes, commissioned pieces created from poems by Comma Press authors. Many of the films have garnered awards, and it was easy to see why. The words and images complemented and enhanced, rather than illustrated, each other. www.commapress.co.uk

Earlier in the day filmmakers Becky Edmunds (UK) and Paolo Cirio (www.thebigplot.net, Italy) gave talks on their respective work. Edmunds' work sat less easily under the 'narrative' banner, and sparked a discussion about our understanding of the term. I'm still trying to get a good grip on Maya Deren's theory of 'vertical structure' – the poetic experience of the viewer, as opposed to a horizontal, unfolding-in-time sequence of dramatic events.

Paolo Cirio then introduced his work of “Recombinant Fiction”, a meshing and melding of real life individuals and events, and fictionalised versions of them. The Big Plot builds an interactive narrative using web2.0 technologies. The audience searches for and shares information, and so constructs their experience of the plot. The project veered into dodgy territory on a couple of points (posing as real-life spy to a journalist on Facebook, for instance), and three days later there are still discussions among festival attendees about the social and ethical ramifications of the idea (and about the merits or otherwise of Facebook and its brethren).